Kogel, Jörg-Dieter (Hg.): Europäische Filmkunst 1990

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Kogel, Jörg-Dieter (Hg.): Europäische Filmkunst 1990 Repositorium für die Medienwissenschaft Klaus-Peter Heß Kogel, Jörg-Dieter (Hg.): Europäische Filmkunst 1990 https://doi.org/10.17192/ep1990.4.5769 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Heß, Klaus-Peter: Kogel, Jörg-Dieter (Hg.): Europäische Filmkunst. In: medienwissenschaft: rezensionen, Jg. 7 (1990), Nr. 4. DOI: https://doi.org/10.17192/ep1990.4.5769. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. 393 Jörg-Dieter Kogel (Hrsg.): Europäische Filmkunst. Regisseure im Porträt.- Frankfurt/Main: Fischer Taschenbuch Verlag 1990 (=Fischer Cinema 4490), 208 S., DM 16,80 Welchen Sinn macht ein Buch, das unter dem vielversprechen­ den Titel "Europäische Filmkunst" auf knapp bemessenen 208 Seiten siebzehn Regisseure porträtiert, die nur unzureichend unter den Begriff 'Autorenfilmer' gefaßt werden können? Wel­ chen Sinn macht ein Buch, dessen Herausgeber in einer schlam­ pig dahingeworfenen Vorbemerkung nur behaupten kann, daß die "Wurzeln der Filmkunst [... ) in Europa [liegen)" (S.7), er uns aber den Beweis schuldig bleiben muß, weil diese Behaup­ tung schlichtweg ebenso falsch ist wie die Unterstellung, daß "der Autorenfilm [... ) gegen den trivialen Hang des US-Kinos zur Unterhaltung und gegen dessen willkürliche Vereinfachung der Geschichte zu Stories entstanden ist" (S.7)? Welchen Sinn macht ein Buch, daß sich über den werbenden Klappentext den Anschein zu geben versucht, als könne es tatsächlich sein Ver­ sprechen einhalten, die "wichtigsten Repräsentanten des euro­ päischen Autorenfilms" vorzustellen, "die ihm seine unverwech­ selbaren Konturen verliehen haben" (S.7)? Schließlich: Welchen Sinn macht ein Buch, das mit einem Umschlagbild aus dem Film Zimmer mit Aussicht kokettiert, dessen Regisseur James Ivory in der Auswahl aber selbstverständlich nicht vorkommt? Der Sinn dieses Buches kann da nur in jedem der einzelnen Aufsätze selbst liegen, in deren Zusammenführung zu einer greifbaren Publikation, die einen ersten Einblick in die Vielfalt und möglicherweise auch in die Gemeinsamkeiten europäischer Filmkulturen ermöglicht und die uns neugierig macht auf die einzelnen Filmemacher und ihre Werke. Und jeder einzelne Arti­ kel wird sich in seiner Qualität deshalb auch daran messen las­ sen müssen, ob ihm dies gelingt oder nicht. Auf dem deutschen Filmbuchmarkt ist der Cineast bescheiden geworden. Das eigentliche Rückgrat der Publikation bildete eine Sende­ reihe der Kulturredaktion von Radio Bremen, in der Theo An­ gelopoulos, Ingmar Bergman, Claude Chabrol, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Louis Malle, Roman Polanski, Alain Resnais, Francesco Rosi, Carlos Saura, die Brüder Paolo und Vittorio Taviani, Agnes Varda, Andrzej Wajda und Wim Wenders vorgestellt worden sind. Für den Druck sind die Beiträge überarbeitet und erweitert worden. Peter W. Jansen, Mit-Herausgeber der "Reihe Film" bei Hanser, widmet sich gleich vier Regisseuren: Claude Chabrol, dem "Cinemaholic" (S.41) unter den Europäern, Alain Resnais, der in "allen seinen Filmen, so unterschiedlich sie sein mögen [...J, die jeweils größte Freiheit der Entfaltung filmsprachlicher Mittel" (S.127) sucht sowie - zusammen mit der Journalistin, Fernsehre­ gisseurin und Drehbuchautorin Christa Maerker, - Louis Malle und Roman Polanski. Für den französischen Regisseur mit langjähriger Amerika-Erfahrung findet das Autorengespann das 394 treffende Lob, "Kinder, Jugendliche inszienieren zu können wie kaum ein anderer - allenfalls Fran<;:ois Truffaut" [...]: eine der wenigen sichtbaren Konstanten in den Filmen von Louis Malle" (S.94). Die Suche nach eben solchen Konstanten bestimmt und verstellt immer wieder den Blick der Autoren, wenn sie versu­ chen, den 'Filmautoren' ein jeweils einheitliches Motiv und einen linearen Werdegang in der Entwicklung ihrer filmischen Arbei­ ten zu unterstellen, der doch nur allzu häufig aus Schleichwe­ gen, Nebentrassen und Sackgassen bestanden hat. Roman Polanski, der Kosmopolit in dieser Gruppe der porträtierten Re­ gisseure, ist das eklatante Beispiel dafür: "Egal, wie unter­ schiedlich diese Filme auch sein mögen im Wechsel der Genres und der Geschichten: immer wählen sie einen Ort, der beides darstellt: Schutz und Bedrohung. Stets ist es ein Ort des Ein­ geschlossenseins - wie es das Getto für den Jungen [Polanski; K.P.H.] in Krakau war" (S.108). Vergangenheit, Leben, Formulie­ rung und Oeuvre im Einklang? Würden sich nicht bei jedem Re­ gisseur solche Übereinstimmungen finden lassen, wenn man es nur darauf anlegte? Liest man die Biografien der Filmgeschichte nur oberflächlich, könnte sich dieser Eindruck bestätigen. Aber wer wollte nicht gerne Ordnung in sein Leben bringen - und sei es 'nur' in das künstlerische. Doch diese Suche nach etwas Gemeinsamem schärft auch den Blick. Jansen und seine Co-Autorin Maerker, die zudem noch mit einem Porträt von Agnes Varda, der "Großmutter der Nouvelle Vague" (S.169), vertreten ist, beschreiben die ihnen wichtigen Szenen aus den Filmen detailliert und genau, haben ein Gespür tür die Besonderheiten der einzelnen Filme und eine besondere Gabe, diese zu vermitteln. Da will man gerne manche verun­ glückte Formulierung überlesen und stilistische Entgleisungen der mangelhaften Lektorierung durch Ingeborg Mues anlasten: Über Les Amants von Louis Malle steht zu lesen, daß der Film es riskiere, "eine schwüle, geradezu kitschig instrumentierte Sommernacht im Park vorzuführen und dann, während des An­ dante aus dem Streichquartett von Brahms bratschig breit über die Seele streicht, die Liebe passieren zu lassen wie ein Erdbe­ ben oder einen Wolkenbruch" (S.97/98). An anderer Stelle heißt es: "Hat das Kino von Louis Malle das Licht im Blick, das lange das Licht der Nacht ist, in die sich dann der Morgen tastet zu einer sanften Berührung des Lichts mit dem Licht, so berühren sich in ihm auch Mutter und Sohn in Le Souffle au Coeur" (5.100). Das sind überflüssige sprachliche Sentimentalitäten in ansonsten nüchtern und klar gehaltenen Textpassagen. Werden fehlende sprachliche Gewandtheit und die Bereitschaft zur deutlichen Formulierung durch feuilletonistisches Schatten­ boxen kompensiert, muß "ein politischer Moralist und ein arti­ stischer Träumer vom Sinn der Geschichte"(S.9), gemeint ist der Regisseur Theo Angelopoulos, auf der Strecke bleiben. Michael Kötz, Mitarbeiter der Frankfurter Rundschau, der sich dem griechischen Regisseur zu nähern versucht, schreckt durch seinen Artikel eher ab, als daß er den Weg "zu einem der vir- 395 tuosesten Historiker mit den Mitteln des Kinos in Europa" (5.18) eröffnet. "Angelopoulos' Filme halten Geschichtsunterricht, aber mit einer subtilen Intensität" (5.15), heißt es da vieldeutig. Und dann gebraucht Kötz eine Formulierung Jean Cocteaus - die üb• rigens in diesem Porträt-Band gleich noch zwei weiteren Auto­ ren wichtig erschien (Josef Schnelle über Peter Greenaway und Hans Günther Pflaum über Wim Wenders) -, um diesen Ge­ schichtsunterricht zu qualifizieren: "Es ist, als könnte man dem Leben bei seinem Vergehen zusehen: wie es sich, was immer es einmal wollte, auflöst in den Tableaus, den überindividuellen Bildräumen der Geschichte" (5.15). Und schließlich bemüht Kötz auch noch Angelopoulos' Umgang mit dem Ton, um über dessen Geschichtsunterricht zu sinnieren: "Da gibt es Sequenzen, in denen in einem vom Bild her leeren Raum nur noch der Ton ar­ beitet, Worte und Geräusche von außerhalb des Bildes eindrin­ gen wie aus der Transzendenz. Von nichts und niemandem auf­ zuhalten. Es ist die Geschichte, die das spricht, als Sinnstrom jenseits der Wirklichkeit, als Wahrheit und Weltgeist mit Hegel und Marx. Im Kino freilich inszeniert sich diese Idee wie ein Mythos, verwandelt sich der kühle Gedanke in ein symbolisches Raunen von der Macht des Schicksals, wird politische Philoso­ phie heimlich zu einer transzendenten Macht von religiöser Qualität" (5.15). Solche verbalen Versteckspiele haben Angelo­ poulos' Filme nicht verdient. Waltel' Ruggle hat es in seiner Pu­ blikation Theo Angelopoulos: Filmische Landschaft (Baden/ Schweiz: Verlag Lars Müller (edition filmbulletin) 1990) bewie­ sen.
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